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UNIVERSITY OF CALiCUT 14 SCH00L OF DISTANCE EDUCAT10N STUDY MATERIALS M.A.ENGLISH (PREVIOUS) (1 997 Adnlissio甲 ) | PAPER Ⅲ BRITISH LITERATURE SURVEV:FROM THE ViCTOR:AN‐ AGE T0 1940 ,Copy Bights Reserued (」 UP/3031/05/1ⅨЮだDE‐ 1 4 B.DRAMA f.力χおルr Sr2の 加D′ralJ PAPER‖ :BR:TiSH L:TERATURE SURVEY IS E‖ ot Murder in The Cathedral FROM THE ViCTOR:AN AGE T0 1940 2.2xお ル ″G′″´rar S餞ゥ G B Shaw St.Joan Max Marks:120 」.M Synge Riders to the Sea Sean O'Casey Juno and the Paycock A POETRY Cristopher Fry The Lady is not for Burning f.■潔Jars滋 のiZ`′ガJ C.PROSE AND FlCT:ON Alfred,Lord Tennyson "The Lotos Eaters" Robert Brown!ng "Andrea Del Sarto" l. Texts for Sturly in detail Matthew Arnold "Dover Beach" Virginia Woolf Modern Fiction Thomas Hardy "The Darkling Thrush" 2. Texts for General Study G M Hopkins 1 . "The Windhover" Matthew Arnold Pretace to 1853 poems 2. "No Worst, there is none" Emily Bronte Wuthering Heights W B Yeats 1."Easter1916" Charles Dickens Hard Times 2. "Among Schoolchildren" George Eliot The Mill one the Floss 3. "Byzantium" Thonas Hardy Mazor of Casterbridge IS E‖ ot "The Love-Song of Alfred Joseph Conrad Heart o, Darkness "Little Gidding" James Joyce A portrait o{ the Artist as a Young Man W H Auden "The Shield of Achilles" D.H.Lawrence Sons and Lovers 2.ル名おル (ル り Virginia Woolf To the Lighthouse 「 "araI Sa“ Robert Browning "Porphyria's Lover" Arno:d "The Scholar-Gypsy" c M Hopkins "Felix Randal" W B Yeats "Lapis Lazuli" Break up: 4 Annotations + 3 Essays + ssh. notes + 1O obj. Wi!fred Owen "Futility" (8 x 4 + 20 x 3 + 6 x 3 + 10 = 120' IS E‖ ot "The Waste Land" 」ohn Beteman "Green Away" W H Auden "ln Memory of W.B.Yeats" Louis Mac‐ Neice "The Sunlight on the Guardian" Stephen spender "The Express" ／ ヽ ― 「 、 5 6 proceeds, Andrea meditates on his life, on his art, on his love lor SECTION A - POETBY her and on her treatment of him. Lines 1-20 ANDREA DEL SARTO Andrea is apologetic and implores his wife not to quarrel any more. He assures her that he is willing to paint a picture for ROBERT BROWNING her 'friend's friend'the next day and that he will abide by the Browning selects his subiect from all ages history and of sublect, time and even the price chosen by that friend, all that he lrom various phases of human aciion, character and passion. Like wants is to sit by the window, holding her hand in his ('as married many o, his works,'Andrea Del Sarto'reveals his interest in ltalian people use') and to look towards Fiesole (a small town on a hill Renaissance and art. The poem was wrilten in reply to a friend's iop near Florence), quietly for just an hour. lf she gives him this request for a photograph of Andrea del Sarto's self-portrait in the privilege, he might get the enthusiasm and joy to do the painting Pitti Palace, Florence and is based on the account of the painters which would fetch her the money she needs. life as given by Vasari in his'Lives of the Painters'. The setting is carelully chosen. The tone is subdued and Andrea del sarto (called the 'Iaultless painter') a Florentine autumn evening reflects the mood of the aged and deleated An- born in 1486 was known for his technical master. He married drea. His excessive love lor his beautiful young wife, who cares Lucrezia del Fede, whom he loved all his life and for whom he only for money and his readiness to degrade his art for her sake sacrificed everything, but who proved be his undoing. He also to are hinted at. used her as a model for his Madonas and other painlings. He was Lines 21-34 invited by Francis I to the French Court and there painted some of his best pictures. Although he was successful and in royal favopr, Andrea is enthralled by the perfect physical beauty of his worldly wife tempted him to return to Florence, where he built Lucrezia and luxuriates over it. As Andrea holds the soft hand of a house for himself and his wife out of the money given to him by his wife, he imagines he is embracing her. ('Your soft hand is a the King to purchase pictures. Because of his weakness of will woman of itself). He calls her 'serpentining beauty, rounds on and his excessrve love ,or his wife, Andrea submitted himself to rounds', because serpents with their tails in their mouths (i.e. cir- every whim of his wife, knowing fully well that she was indifferent cular in form) are symbols of perfection. (The irony that she is to his art and was even unfaithlul to him. Andrea died of plague in deceitful like a serpent, who has entwined herself round him is 1530, deserted by his wife and disappointed at his lailure as an also implicit). He calls her' My face, my moon, my everybody's artist. moon'. Though she belongs to him, he is aware that he has no Browning's poem is in the lorm of a speech by Andrea ad- exclusive right over her. Everyone looks at the moon and loves it. dressed to his wife Lucrezia. He is an aging and disappointed man, The moon [n turn looks on every one, but loves no one in particu- looking out over Florence from his studio. lt is an aulumn evening, lar. Though Lucrezia is loved by many, she is incapable ol genu- particular, which is in tune with Andrea's mood of weariness and sterility. We ine love for anyone in least of all for her husband. break in upon the last words of a quarrel for money and Andrea's Lines 35-52 pathetic request to her to bear with him for once. As the poem These lines blend the autumnal twilight v/ith the twilight of 7 8 the painter's hope and aspirations. Lucrezia's pride in him has dis- ists and himsell. While others are easily excited, he is unmoved appeared and everything about him is toned down like the grey as the mountain itself. His paintings, though faultless, are not in- that suffuses nature outside. The autumn landscape is gloomy, spiring and he attributes his failure to his love tor Lucrezia. quiet and there is a sense of foreboding. Days become shorter The essenue of Browning's philosophy is contained in the and Andrea realises that there is autumn in everything. The toiling lines: bell, the chapel's tower, the convent hall, the solitary monk and 'Ah, but a man's reach should exceed his grasp, the growing darkness - allthese suggest the quite, sombre evening Or what's a heaven Jor?' almosphere, which Andrea finds within himself too, 'a twilight piece' The very idea of Heaven implies unattainable perfectic as he€alls it. He seems his entire life and works a failure, which One's failure while trying to achieve the impossible is nobler than ― now await final dissolution. He, however, attributes his failure tL タ the success or attainment of limited aims. Andrea's tragedy, ai God. 'Love, we are in God's hand' and that gur freedom of action he himself realises, is the tragedy ot powers unstretched to tli. is only an illusion, he tells Lucrezia, who is not even listening to uttermost. He knows what to achieve and how to achieve it. But him. he does not have the will, the drive, to pursue it. He is aware of his Lines 53-87 moral and spiritual inadequacy. His soul is wholly devoted to Andrea tells Lucrezia how technically perfect his paintings Lucrezia and hence his failure as an artist. are and how easily he can draw them. He draws the attention of Hnes 104 - I3I the unwilling Lucrezia to some of his paintings and talks of his Andrea points to a painting by Bafael and talks of the high extraordinary skill. He can very easily accomplish what others can ideals which inspired him to paint it, though it may have some only dream of lnspite of hard work they can never reach anywhere physical defects here and there, lhe soul or the spirit is unerring[r near him. He mildly reproaches herthat she has no idea the trouble oaptured. But all the play, the insight and the slretch, which ● the other artists take to paint the trifle which he did so easily and characterises Rafael's paintings are out of him. (Rafael is called which she spoiled so carelessly by allowing her flowing dress to 'Urbinate', as he was born at Urbino and was one of the greatest take away a part of the wel paint. But then, he lacks the fire and artists. He was a contemporary oI Andrea.) Andrea alter:,..iely spirit of great artists. ":Less is more' he sadly muses. Achieve- blames Lucrezia and himself tor his inability to rise to ri'e level of ments, which fall short of complelion, because their aim is high, is Ralael or Michelangelo. Had she possessed the beauty of thb mind, greater than achievements which have attained completion by aim- along with her physical beauty he could have dorrc works of last- ing low. The productions oI other artists may be inferior to his in ing value. Andrea compares himself to a bird and Lucrezia to the technical mastery, but theirs are nobler because of their high ide- fowler (the bird-catcher).
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